Quentin Tarantino

I am a writer. That's what I do. It's a writer's job not just to write about himself but to look at the rest of humanity and explore it—other people's way of talking, the phrases they use. And my head is a sponge. I listen to what everyone says, I watch little idiosyncratic behavior; people tell me a joke, and I remember it. People tell me an interesting story in their life, and I remember it.

If you have the passion to do it, and you do it and it doesn't work out—I worked for 3 years on a 16mm movie that became nothing but guitar picks. And I was very disappointed when I realized it wasn't any good. But it was my film school—and I actually got away really cheap. When it was all over I knew how to make a movie.

I steal from every single movie ever made. If people don't like that, then tough tills, don't go and see it, all right? I steal from everything. Great artists steal, they don't do homages.

The worst thing about movies is, no matter how far you can go, when it comes to violence you are wearing a pair of handcuffs that novelists... don't wear.

TV's fun, it's good. I've carried memories that I've seen on television for most of my life. But it's also a disposable experience.

This is a debased genre of literature, but I'm all about debased genres of art that people don't respect.

Once the movie gets going, once the lights go down, you become a collective. There's you by yourself, but then there's all of you together. And then you start appreciating the movie in that way.

He's not really fully formed. They grow. They teach me who they are.

We don't tell a story. We tell a situation. Most of the movies that you see nowadays... you pretty much know everything you're going to see in the movie by the first 10 or 20 minutes. Now, that's not a story. A story is something that constantly unfolds.

It's not that I'm on this big crusade against linear storytelling, but the thing is it's not the only game in town. A novel can do that no problem. Novelist have always had complete freedom to pretty much tell their story any way they saw fit. And that's kind of what I'm trying to do.

The minute you put handcuffs on artists because of stuff like that, it's not an art form anymore.

There are two kinds of violence. First, there's cartoon violence like Lethal Weapon. There's nothing wrong with that. I'm not ragging on that. But my kind of violence is tougher, rougher, more disturbing. It gets under your skin.

I make violent movies. I like violent movies. I'm on record about how I feel there is no correlation between art and life in that way.

I get a kick out of violence in movies. I don't get a kick out of badly done violence or action scenes in movies. It's like, 'How far is too far?' Well, if they do it well, there shouldn't be, 'How far is too far?'

I'm not trying to make Hateful Eight contemporary in any way, shape, or form. I'm just trying to tell my story.

Social critics don't mean a thing to me. It's really easy to ignore them, because I believe in what I'm doing 100%. So any naysayers for the public good can just fuck off.

If you have a problem with my movies, then they aren't the movies to go see. Apparently, I'm not making them for you.

I actually really try to um have morality not even be an issue at all all right when it comes to my characters. That's so interesting i mean you know I don't want that to have any play whatsoever. i That would be me commenting on them that is me sticking my big nose into their lives. and then their philosophies i let them be who they are.

My philosophy forever has been it doesn't matter what you're like as long as you're interesting. Interest is everything.

I just want the same rights that a novelist has... you can write a novel about a bastard, but he can be totally interesting.